The Southwestern Historical Quarterly, Volume 93, July 1989 - April, 1990 Page: 110
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11 0 Southwestern Hzstorzcal Quarterly
collected and read to relive bygone days. His compact narrative tells of
a union of talents that rarely occurs in literature, but when it does, the
results can be first-rate.
University of Texas at El Paso EVAN HAYWOOD ANTONE
Artists in Calzfornia 1786- 940o. By Edan Milton Hughes. (San Francisco,
Calif.: Highes Publishing Company, 1986. Pp. 533. $60.)
Biographical research on American artists can at times be an un-
satisfying if not frustrating pursuit. For some of the lesser-known art-
ists the information available in standard reference works is often
sketchy and at times even inaccurate. Problems are particularly evident
for artists who were active during the early twentieth century. For such
artists, reference works such as Mantle Fielding's Dictionary of Amerzcan
Painters, Sculptors and Engravers are frequently lacking in information
on where the artist was living or what he was doing after 1929. Some
help is provided by specialized reference works such as Doris Dawdy's
Artists of the Amerzcan West or Chris Petty's Dictzonary of Woman Artists.
While such works definitely provide greater depth than can be found
in general reference sources, one nonetheless notices that in many
cases they merely repeat the same limited information that can be
found in more general reference sources such as The American Art An-
nual and Who's Who zn Amerzcan Art.
Edan Hughes's Artists zn California 1786-1940 provides more, how-
ever, than a recapitulation of facts easily found elsewhere. Hughes has
expanded his data base beyond the most obvious general sources and
has delved into such neglected archival collections as the card catalog
material at the Ferdinand Perrett Research Library in Los Angeles.
Hughes has also taken into account such distinctly local sources as
Who's Who in Californza and the membership lists and exhibition records
of local art associations. As a result, he has turned up significant new
information on a number of the artists discussed in the book. On occa-
sion the book also mentions artists who have been largely neglected by
other compilations. I was agreeably surprised, for example, to find an
entry for the Chicago-born artist Christiana Hoerman, who even es-
caped inclusion in Pettys's comprehensive work on woman artists.
Hughes is at his best when dealing with artists who have strong links
with the California art world, but does less well when discussing artists
who had only limited association with California. One is surprised, for
example, to note that no date of death is given for such well-known art-
ists as Max Ernst, Lyonel Feininger, and Kay Nielson. On the other
hand, there appear to be few artists with any California association that
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 93, July 1989 - April, 1990, periodical, 1990; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101213/m1/136/?rotate=270: accessed June 28, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.